Social advertising is advertising that relies on social information or networks in generating, targeting, and delivering marketing communications. Many current examples of social advertising use a particular Internet service to collect social information, establish and maintain relationships with consumers, and for delivering communications. For example, the advertising platforms provided by Google, Twitter, and Facebook involve targeting and presenting ads based on relationships articulated on those same services. Social advertising can be part of a broader social media marketing strategy designed to connect with consumers. == Social targeting == Since a pair of consumers connected via a relationship are more likely to be similar than an unconnected pair, information about such relationships can be used to infer characteristics of consumers useful for targeting. For example, predictions of an individual's home location can be improved using geographic information about their peers. Existing advertising platforms can allow advertisers to explicitly target the peers (e.g., Facebook friends, Twitter followers) of consumers who have a known affiliation with their brand. Thus, one way social advertising is expected to be effective is because social networks encode information about unobserved characteristics of consumers, including their susceptibility to adopt a product and to influence their peers to adopt. Social advertisement targets audiences' demographics based on customers browsing histories. This helped companies understand users' interests and target a specific group of users. Whether it is location or personal interest, different categories of companies can make the consumers on social media rely heavily on their advertisements. This is one of the reasons why social advertising has grown over time. Targeting their audience to real life stakeholders generally increase the attention of the advertised deal which brings up more profits for companies. Subsequently, the psychological effects that social media gives off to its users play a huge role in advertisement companies keeping their customers online. One of the main reasons users rely on social media is because it's a source of entertainment that provides them with a feeling of inclusiveness. In making the customers feel the inclusiveness, social advertising targeting a specific group of users is presented as if these advertisements are customized for the users in their perspective making them feel the attention that they do not often feel in the real world. You can use Social signals checker tool to find more information about links. Social signals are metrics that measure how much people interact with your content on social media. From likes, to shares, to comments; each of these signals contributes to an overall number that tells search engines like Google how much people like your content. The more social signals your website gets, the more likely it is to rank higher in Google. The reason for this is two-fold. First, social media is used by millions of people every day, and if your content is being shared and interacted with on these sites, it shows that it’s worthy of being seen. And second, social media sites are highly trusted by Google. So if you can get your content seen and interacted with on these platforms, you’ll be off to a great start. == Social cues in advertisements == Social ads often include information about the affiliation of a peer with an advertised entity. For example, a social ad might indicate a friend has endorsed a product, highly rated a restaurant, or watched a particular film. In fact, some definitions make these personalized social signals a necessary condition for the advertising being social advertising. Inclusion of personalized social signals creates a channel for social influence. Experiments that remove peers' names or images from social advertisements provide evidence that their presence increases proximal outcomes (e.g., clicks on advertisements). This is technically how trends are started on social media. Since social media links a single profile to thousands of other accounts some being real-life friends or even acquaintances, the opinions and the bias a user has for other users who are also a customer of an advertisement on the feed can heavily affect whether to click on the advertisement or not. Once this pattern continues, the brand benefits from increased customers, profit, and attention. Social networking can spread rapidly because 71 percent of the world's population contributes and uses social media which means social advertising gives companies a better marketing technique than a physical poster advertisement. == Word of mouth == Advertisers often attempt to use word of mouth to affect consumers and their decisions to adopt products and services. Ads and other inducements targeted at a seed set of individuals can be designed to produce a larger cascade of adoption through influence. Businesses are also using social media to attempt to identify and persuade influential consumers to spread positive messages about their products or services. Consequently, not only on social platforms but also in physical settings, users start talking to each other. When individuals develop an intimate relationship with each other, it is quite heavily based on shared characteristics, interests, and personalities. If one social media user becomes a regular customer to a well-known company that advertises often, there is a higher chance that all the other people who have intimate relationships with that one customer will be exposed to the online advertisement more than another user who might be completely new to a brand that is being advertised on screen. In reality, this happens to not only one user but to most of the users which mean a single brand advertisement online can have to potential of being talked about between billions and trillions of people all around the globe. == Relationship marketing == To accurately conduct relationship marketing, businesses must develop and manage six marketplaces: internal, customer, referral, supplier, influencer and employee. To maintain relationship marketing, customers often see social media influencers getting free sponsorships or PR boxes just to advertise their products. At times, users who become customers through these social influencers will get a better deal than regular customers which stands as a very commonly used marketing technique. By doing this, users think they are receiving special treatment when in reality it very much benefits social influencers and brands. Especially for brands that are just starting, they use this marketing technique so that their names can be out there, and people will start talking, which is their initial goal.
PDE surface
PDE surfaces are used in geometric modelling and computer graphics for creating smooth surfaces conforming to a given boundary configuration. PDE surfaces use partial differential equations to generate a surface which usually satisfy a mathematical boundary value problem. PDE surfaces were first introduced into the area of geometric modelling and computer graphics by two British mathematicians, Malcolm Bloor and Michael Wilson. == Technical details == The PDE method involves generating a surface for some boundary by means of solving an elliptic partial differential equation of the form ( ∂ 2 ∂ u 2 + a 2 ∂ 2 ∂ v 2 ) 2 X ( u , v ) = 0. {\displaystyle \left({\frac {\partial ^{2}}{\partial u^{2}}}+a^{2}{\frac {\partial ^{2}}{\partial v^{2}}}\right)^{2}X(u,v)=0.} Here X ( u , v ) {\displaystyle X(u,v)} is a function parameterised by the two parameters u {\displaystyle u} and v {\displaystyle v} such that X ( u , v ) = ( x ( u , v ) , y ( u , v ) , z ( u , v ) ) {\displaystyle X(u,v)=(x(u,v),y(u,v),z(u,v))} where x {\displaystyle x} , y {\displaystyle y} and z {\displaystyle z} are the usual cartesian coordinate space. The boundary conditions on the function X ( u , v ) {\displaystyle X(u,v)} and its normal derivatives ∂ X / ∂ n {\displaystyle \partial {X}/\partial {n}} are imposed at the edges of the surface patch. With the above formulation it is notable that the elliptic partial differential operator in the above PDE represents a smoothing process in which the value of the function at any point on the surface is, in some sense, a weighted average of the surrounding values. In this way, a surface is obtained as a smooth transition between the chosen set of boundary conditions. The parameter a {\displaystyle a} is a special design parameter which controls the relative smoothing of the surface in the u {\displaystyle u} and v {\displaystyle v} directions. When a = 1 {\displaystyle a=1} , the PDE is the biharmonic equation: X u u u u + 2 X u u v v + X v v v v = 0 {\displaystyle X_{uuuu}+2X_{uuvv}+X_{vvvv}=0} . The biharmonic equation is the equation produced by applying the Euler-Lagrange equation to the simplified thin plate energy functional X u u 2 + 2 X u v 2 + X v v 2 {\displaystyle X_{uu}^{2}+2X_{uv}^{2}+X_{vv}^{2}} . So solving the PDE with a = 1 {\displaystyle a=1} is equivalent to minimizing the thin plate energy functional subject to the same boundary conditions. == Applications == PDE surfaces can be used in many application areas. These include computer-aided design, interactive design, parametric design, computer animation, computer-aided physical analysis and design optimisation. == Related publications == M.I.G. Bloor and M.J. Wilson, Generating Blend Surfaces using Partial Differential Equations, Computer Aided Design, 21(3), 165–171, (1989). H. Ugail, M.I.G. Bloor, and M.J. Wilson, Techniques for Interactive Design Using the PDE Method, ACM Transactions on Graphics, 18(2), 195–212, (1999). J. Huband, W. Li and R. Smith, An Explicit Representation of Bloor-Wilson PDE Surface Model by using Canonical Basis for Hermite Interpolation, Mathematical Engineering in Industry, 7(4), 421-33 (1999). H. Du and H. Qin, Direct Manipulation and Interactive Sculpting of PDE surfaces, Computer Graphics Forum, 19(3), C261-C270, (2000). H. Ugail, Spine Based Shape Parameterisations for PDE surfaces, Computing, 72, 195–204, (2004). L. You, P. Comninos, J.J. Zhang, PDE Blending Surfaces with C2 Continuity, Computers and Graphics, 28(6), 895–906, (2004).
Texture filtering
In computer graphics, texture filtering or texture smoothing is the method used to determine the texture color for a texture mapped pixel, using the colors of nearby texels (ie. pixels of the texture). Filtering describes how a texture is applied at many different shapes, size, angles and scales. Depending on the chosen filter algorithm, the result will show varying degrees of blurriness, detail, spatial aliasing, temporal aliasing and blocking. Depending on the circumstances, filtering can be performed in software (such as a software rendering package) or in hardware, eg. with either real time or GPU accelerated rendering circuits, or in a mixture of both. For most common interactive graphical applications, modern texture filtering is performed by dedicated hardware which optimizes memory access through memory cacheing and pre-fetch, and implements a selection of algorithms available to the user and developer. There are two main categories of texture filtering: magnification filtering and minification filtering. Depending on the situation, texture filtering is either a type of reconstruction filter where sparse data is interpolated to fill gaps (magnification), or a type of anti-aliasing (AA) where texture samples exist at a higher frequency than required for the sample frequency needed for texture fill (minification). There are many methods of texture filtering, which make different trade-offs between computational complexity, memory bandwidth and image quality. == The need for filtering == During the texture mapping process for any arbitrary 3D surface, a texture lookup takes place to find out where on the texture each pixel center falls. For texture-mapped polygonal surfaces composed of triangles typical of most surfaces in 3D games and movies, every pixel (or subordinate pixel sample) of that surface will be associated with some triangle(s) and a set of barycentric coordinates, which are used to provide a position within a texture. Such a position may not lie perfectly on the "pixel grid," necessitating some function to account for these cases. In other words, since the textured surface may be at an arbitrary distance and orientation relative to the viewer, one pixel does not usually correspond directly to one texel. Some form of filtering has to be applied to determine the best color for the pixel. Insufficient or incorrect filtering will show up in the image as artifacts (errors in the image), such as 'blockiness', jaggies, or shimmering. There can be different types of correspondence between a pixel and the texel/texels it represents on the screen. These depend on the position of the textured surface relative to the viewer, and different forms of filtering are needed in each case. Given a square texture mapped on to a square surface in the world, at some viewing distance the size of one screen pixel is exactly the same as one texel. Closer than that, the texels are larger than screen pixels, and need to be scaled up appropriately — a process known as texture magnification. Farther away, each texel is smaller than a pixel, and so one pixel covers multiple texels. In this case an appropriate color has to be picked based on the covered texels, via texture minification. Graphics APIs such as OpenGL allow the programmer to set different choices for minification and magnification filters. Note that even in the case where the pixels and texels are exactly the same size, one pixel will not necessarily match up exactly to one texel. It may be misaligned or rotated, and cover parts of up to four neighboring texels. Hence some form of filtering is still required. == Mipmapping == Mipmapping is a standard technique used to save some of the filtering work needed during texture minification. It is also highly beneficial for cache coherency - without it the memory access pattern during sampling from distant textures will exhibit extremely poor locality, adversely affecting performance even if no filtering is performed. During texture magnification, the number of texels that need to be looked up for any pixel is always four or fewer; during minification, however, as the textured polygon moves farther away potentially the entire texture might fall into a single pixel. This would necessitate reading all of its texels and combining their values to correctly determine the pixel color, a prohibitively expensive operation. Mipmapping avoids this by prefiltering the texture and storing it in smaller sizes down to a single pixel. As the textured surface moves farther away, the texture being applied switches to the prefiltered smaller size. Different sizes of the mipmap are referred to as 'levels', with Level 0 being the largest size (used closest to the viewer), and increasing levels used at increasing distances. == Filtering methods == This section lists the most common texture filtering methods, in increasing order of computational cost and image quality. === Nearest-neighbor interpolation === Nearest-neighbor interpolation is the simplest and crudest filtering method — it simply uses the color of the texel closest to the pixel center for the pixel color. While simple, this results in a large number of artifacts - texture 'blockiness' during magnification, and aliasing and shimmering during minification. This method is fast during magnification but during minification the stride through memory becomes arbitrarily large and it can often be less efficient than MIP-mapping due to the lack of spatially coherent texture access and cache-line reuse. === Nearest-neighbor with mipmapping === This method still uses nearest neighbor interpolation, but adds mipmapping — first the nearest mipmap level is chosen according to distance, then the nearest texel center is sampled to get the pixel color. This reduces the aliasing and shimmering significantly during minification but does not eliminate it entirely. In doing so it improves texture memory access and cache-line reuse through avoiding arbitrarily large access strides through texture memory during rasterization. This does not help with blockiness during magnification as each magnified texel will still appear as a large rectangle. === Linear mipmap filtering === Less commonly used, OpenGL and other APIs support nearest-neighbor sampling from individual mipmaps whilst linearly interpolating the two nearest mipmaps relevant to the sample. === Bilinear filtering === In Bilinear filtering, the four nearest texels to the pixel center are sampled (at the closest mipmap level), and their colors are combined by weighted average according to distance. This removes the 'blockiness' seen during magnification, as there is now a smooth gradient of color change from one texel to the next, instead of an abrupt jump as the pixel center crosses the texel boundary. Bilinear filtering for magnification filtering is common. When used for minification it is often used with mipmapping; though it can be used without, it would suffer the same aliasing and shimmering problems as nearest-neighbor filtering when minified too much. For modest minification ratios, however, it can be used as an inexpensive hardware accelerated weighted texture supersample. The Nintendo 64 used an unusual version of bilinear filtering where only three pixels are used known as 3-point texture filtering, instead of four due to hardware optimization concerns. This introduces a noticeable "triangulation bias" in some textures. === Trilinear filtering === Trilinear filtering is a remedy to a common artifact seen in mipmapped bilinearly filtered images: an abrupt and very noticeable change in quality at boundaries where the renderer switches from one mipmap level to the next. Trilinear filtering solves this by doing a texture lookup and bilinear filtering on the two closest mipmap levels (one higher and one lower quality), and then linearly interpolating the results. This results in a smooth degradation of texture quality as distance from the viewer increases, rather than a series of sudden drops. Of course, closer than Level 0 there is only one mipmap level available, and the algorithm reverts to bilinear filtering. === Anisotropic filtering === Anisotropic filtering is the highest quality filtering available in current consumer 3D graphics cards. Simpler, "isotropic" techniques use only square mipmaps which are then interpolated using bi– or trilinear filtering. (Isotropic means same in all directions, and hence is used to describe a system in which all the maps are squares rather than rectangles or other quadrilaterals.) When a surface is at a high angle relative to the camera, the fill area for a texture will not be approximately square. Consider the common case of a floor in a game: the fill area is far wider than it is tall. In this case, none of the square maps are a good fit. The result is blurriness and/or shimmering, depending on how the fit is chosen. Anisotropic filtering corrects this by sampling the texture as a non-square shape. The goal is
Path tracing
Path tracing is a rendering algorithm in computer graphics that simulates how light interacts with objects and participating media to generate realistic (physically plausible) images. It is based on earlier, more limited, ray tracing algorithms. Path tracing is used to create photorealistic images for artistic purposes, and for applications such as architectural rendering and product design. It is also used to render frames for animated films, and visual effects for film and television. Because it can be very accurate and unbiased, it is commonly used to generate reference images when testing the quality of other rendering algorithms. The technique uses the Monte Carlo method to compute estimates of global illumination and simulate the ways different materials reflect (or scatter), transmit, absorb, and emit light. It can incorporate simple modeling of the effects of aperture and lens (depth of field, and bokeh) and shutter speed (motion blur), or more realistic simulation of the optical components in a camera. The algorithm works by describing illumination in a scene using the rendering equation, or light transport equation, and finding an approximate solution using Monte Carlo integration. An inefficient (but accurate) version of the algorithm can be very simple, and involves tracing a ray from the camera, allowing this ray to bounce in random directions as it hits different objects in the scene, and computing the amount of light transmitted along the path to the camera whenever the path encounters a light source. This process is repeated many times for each pixel (each repetition, with generated path and transmitted light, is called a sample), and the results are averaged. One main difference between this algorithm and standard ray tracing is that a single unbranching path is traced each time, while "Whitted-style" or "Cook-style" ray tracing recursively samples branching paths (e.g. when light is both reflected and refracted by a glass object). More practical versions incorporate improvements such as quasi-Monte Carlo methods (techniques that distribute samples more evenly), importance sampling (take more samples of paths that are likely to transport more light), and next event estimation (allow a very limited form of branching, and sample additional paths that connect to the lights more directly). Because path tracing uses random samples there is noise in the final image, which decreases as more samples are taken. Images commonly require many thousands of samples per pixel (spp) to reduce noise to an acceptable level, and denoising techniques (e.g. based on neural networks) are often used. Denoising is usually necessary when path tracing is used for real-time rendering in video games, because relatively few samples can be taken. Many alternative algorithms for path tracing have been developed, although they do not always outperform more straightforward implementations. These include bidirectional path tracing (which traces paths forwards from the light source as well as backwards from the camera), Metropolis light transport, and ways of combining path tracing with photon mapping. Video games often use biased versions of path tracing to improve performance (e.g. limiting the number of bounces in each path). A family of techniques called ReSTIR has been developed that can help real-time path tracing by sharing data between nearby pixels and consecutive frames. == History == Like all ray tracing methods, path tracing is based on ray casting, which Arthur Appel used for computer graphics rendering in the late 1960s. In 1980, John Turner Whitted published a recursive ray tracing algorithm that allows rendering images of scenes containing mirrored surfaces and refractive transparent objects. In 1984, Cook et al. described a form of ray tracing called distributed ray tracing, which uses Monte Carlo integration to render effects such as depth of field, motion blur, reflection from rough surfaces, and area lights. The same year, the radiosity method (not a ray tracing method) was published, which was the first physically based method for rendering diffuse global illumination. In 1986, Jim Kajiya published a paper exploring how to use distributed ray tracing to render physically-based global illumination, and this paper also introduced and named the method called "path tracing". Path tracing and other distributed ray tracing techniques were further refined in the late 1980s and early 1990s by researchers such as James Arvo and Peter Shirley, and by Greg Ward in the open source Radiance software. Despite being theoretically able to render any lighting, the original form of path tracing can sometimes be very inefficient (or noisy) for rendering light that is reflected or refracted before illuminating a visible surface, including diffuse global illumination where light enters an area through narrow gaps, because it traces paths only from the camera. To address this, variations of path tracing that trace paths from both the camera and from light sources, called bidirectional path tracing, were published in 1993 by Eric Lafortune and Yves Willems, and in 1997 by Eric Veach and Leonidas Guibas. In 1997 Veach and Guibas also published an alternative method called Metropolis light transport, which combines bidirectional path tracing with the Metropolis method. Veach's lengthy Ph.D. dissertation described both techniques, along with the theoretical background of path tracing; later, the book Physically Based Rendering (which won an Academy Award for Technical Achievement in 2014) helped to make information about path tracing more widely available. Path tracing requires tracing a large number of paths of light in order to produce an image with a visually acceptable amount of noise. This made path tracing very slow on computers available in the 1980s and 1990s, and noise remained a problem when trying to reproduce the style of earlier computer graphics animated films. Most animated films produced until around 2010, by studios such as Pixar, used rasterization-based rendering, with ray tracing used selectively for reflections (and later for precomputed or cached global illumination). However the speed of computers rapidly increased during the 1990s. Blue Sky Studios pioneered using Monte Carlo ray tracing for global illumination in animation, including in the 1998 short film "Bunny", but they did not disclose the precise techniques used. Path tracing gradually become more practical for film production in the early 2000s. The Arnold renderer, developed by Marcos Fajardo, was used by Sony Pictures Imageworks to produce the feature-length film Monster House, released in 2006. Pixar rewrote their RenderMan software to use path tracing, and released their first feature-length path-traced film Finding Dory in 2016. Although path tracing still had a large computational cost, animation studios discovered that less human labor was required when using it, for example because global illumination no longer needed to be faked by manually placing lights. The amount of noise present in path traced images still caused difficulties, particularly when rendering motion blur (which was used extensively by earlier animated films) but denoising techniques were developed to address this. New techniques were also needed for rendering hair and fur, and to handle the extremely large scenes sometimes required by films. Renderers such as Arnold, and Disney's Hyperion, originally only used CPUs for rendering, but as GPUs became more capable (and APIs such as CUDA, OpenCL, and OptiX were released) researchers and developers began adapting algorithms and implementations to use GPUs. GPUs can dramatically reduce rendering time: for example using a high-end GPU to accelerate portions of the rendering code can make it over 30 times faster than using only a high-end CPU. == Description == Kajiya's 1986 paper defined a recursive integral equation called the rendering equation, which describes a simplified form of light transport. Using Monte Carlo integration for the integral on the right side of the equation leads fairly directly to the path tracing algorithm: I ( x , x ′ ) = g ( x , x ′ ) [ ϵ ( x , x ′ ) + ∫ S ρ ( x , x ′ , x ″ ) I ( x ′ , x ″ ) d x ″ ] {\displaystyle I(x,x')=g(x,x')\left[\epsilon (x,x')+\int _{S}\rho (x,x',x'')I(x',x'')dx''\right]} This expresses I(x,x'), the light arriving at point x from point x', as the product of a geometry term, g(x,x'), which is 0 if there is something blocking the light between the two points and 1 otherwise, and the amount of light leaving point x' and traveling towards x. The light leaving point x' is the sum of the light emitted by the surface at x', and the integral of the light arriving at x' from all other points in the scene (the integration domain S) and being reflected towards x. The factor ρ(x,x',x''), which calculates how much light is reflected, must take into account the angles at which the light is arriving and leaving, and
Fantavision
Fantavision is an animation program by Scott Anderson for the Apple II and published by Broderbund in 1985. Versions were released for the Apple IIGS (1987), Amiga (1988), and MS-DOS (1988). Fantavision allows the creation of vector graphics animations using the mouse and keyboard. The user creates frames, and the software generates the frames between them. Because this is done in real-time, it allows for creative exploration and quick changes. The program uses a graphical user interface in the style of the Macintosh with pull-down menus and black text on a white background. Advertisements claimed Fantavision a revolutionary breakthrough that brings the animation features of "tweening" and "transforming" to home computers. == Reception == Compute! in 1989 called Fantavision the best animation program for the IBM PC, although it noted the inability to draw curves. == Reviews == Games #70
Photo-consistency
In computer vision, photo-consistency determines whether a given voxel is occupied. A voxel is considered to be photo consistent when its color appears to be similar to all the cameras that can see it. Most voxel coloring or space carving techniques require using photo consistency as a check condition in Image-based modeling and rendering applications. == Usage == 3D Volumetric Reconstruction. Image registration. Multi-view reconstruction.
Visual hull
A visual hull is a geometric entity created by shape-from-silhouette 3D reconstruction technique introduced by A. Laurentini. This technique assumes the foreground object in an image can be separated from the background. Under this assumption, the original image can be thresholded into a foreground/background binary image, which we call a silhouette image. The foreground mask, known as a silhouette, is the 2D projection of the corresponding 3D foreground object. Along with the camera viewing parameters, the silhouette defines a back-projected generalized cone that contains the actual object; this cone is called a silhouette cone. The intersection of the two silhouette cones defines a visual hull. which is a bounding geometry of the actual 3D object. When the reconstructed geometry is only used for rendering from a different viewpoint, the implicit reconstruction together with rendering can be done using graphics hardware. == In two dimensions == A technique used in some modern touchscreen devices employs cameras placed in the corners situated opposite infrared LEDs. The one-dimensional projection (shadow) of objects on the surface may be used to reconstruct the convex hull of the object. Visual hull generation method has also been used within experimental tele-meeting systems that aim to allow a user in a remote location to interact with virtual objects. The method uses multiple cameras to capture the real-world movements and interactions of the "sender", employing hardware-accelerated volumetric visual hull representation to create 3D volume from 2D multi-view images. Its ultimate aim is to allow 3D collaboration between the two users in the virtual realm, with the visual hull technique reducing the computational power required to allow this type of interaction and enabling the use of consumer goods such as the Wii Remote as a tool for interaction.